I try to make myself, and subsequently the audience, as uncomfortable as possible, whether it's completely desecrating a song they thought was one thing, or getting too drunk to really do a very good job.

I like the freedom of being able to just use the live show as an opportunity to more so deconstruct what's going on in the album than to recreate it.

If my peers had a significant impact on my music, my music would probably be a lot more popular.

I guess with the way that I've conducted myself I'm in the logical spot and I'm fine with that. Even my limited interactions with success have left me confused and bummed out, so I don't think the two can co-exist.

You know, there's an economy in lyric-writing that doesn't afford you, or at least me - I usually start off with nine or 10 verses and then boil it down to two or three that are half the length of the original verses. I think for me it's about what you leave out [rather] than what you put in. I'm not sure that the songs help me figure anything out so much as they're a distillation of the original question.

I think that providing obstructions in the live setting is when you get something that actually means something, as opposed to just aping your way through your greatest hits.

I don't think that just because a lot of my music has a quieter aesthetic; [it] excludes me from achieving that in a live setting, from being dangerous or something.